Pigment Mixed Media

Keishi paints with the classic Japanese technique called Nihonga - he prepares the paper with gold leaf, then paints on top with mineral pigments, thus creating a special perspective...

Mirror to the Sun III Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primaril...

Keishi paints with the classic Japanese technique called Nihonga - he prepares the paper with gold leaf, then paints on top with mineral pigments, thus creating a special perspective...

Juliette Lemontey (b. 1975, Metz, France) is a French artist based in Arles. Her work is an intimate exploration of the human presence, capturing both the weight and fragility of the...

Keishi paints with the classic Japanese technique called Nihonga - he prepares the paper with gold leaf, then paints on top with mineral pigments, thus creating a special perspective...

Red, Black & Brown, a ceramic sculpture of high-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Red, Black & Brown was recently exhibited at "Harold Wortsman: Time and Space" at the Orange Art Foundation, February-March 2022, New York City. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

This framed mixed media painting by Eric Mack combines his grid work created through collaged pieces of paper, nylon mesh, ink, gesso, and acrylic. Imagery i...

Vertical 7, a ceramic sculpture of wood-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Vertical 7 was recently exhibited at "Harold Wortsman: Time and Space" at the Orange Art Foundation, February-March 2022, New York City. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

Vertical 4, a ceramic sculpture of wood-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Vertical 4 was recently exhibited at "Harold Wortsman: Time and Space" at the Orange Art Foundation, February-March 2022, New York City. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman – "Wortsman has increasingly moved into his own – a place in which the relations between the abstractions of volume and the intimations of very old culture are merged in a way that is new." – Essay, "Harold Wortsman: Time and Space", Orange Art Foundation, February 2022, New York City. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

4+4, a ceramic sculpture of high-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

This piece titled "Yoni" is an original piece by Kate VanVliet and is made from eggshells, mica, PVA. This piece measures 14.5”h x 9.5”w x 2.5”d and comes with 3-D printed screw cove...

This piece titled "Donut (Chocolate)" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.5”h x 3.5”w x 1.5”d and ships with the pi...

This piece titled "The Tickler" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.5” x 5”x 3.5”. Kate VanVliet is a sculptor and...

This piece titled "Donut (Mint)" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 3.5”h x 3.5”w x 1.5”d and ships with the picture...

This piece titled "Chimaera: Green #15" is an original piece by Kate VanVliet and is made from eggshells, mica, and PVA. This piece measures 2.25”h x 2”w x 2”d and ships with the pic...

This piece titled "Day in the Life: Chimaera #12" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is ...

This piece titled "Day in the life: Green #25" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the Life: Green #22" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

This piece titled "Day in the Life: Green #33" is an original piece by Kate VanVliet and is made from eggshell, mica, and acrylic. This piece measures 4”h x 2.5”w x 2.5”d, and is shi...

Tethered to the Echos of You Ink, Charcoal, Embers & Natural Mixed Media on Buried Canvas by Katherine Filice Tethered to the Echos of You is a 39.5 x 27 x 3‑inch work on buried canv...

MONUMENT, a ceramic sculpture of high-fired clay pigmented with oxides, is a recent work by artist Harold Wortsman. Note the volumetric geometry inhere...

FOR THE OLD ONES, a ceramic sculpture of high-fired clay pigmented with oxides, sitting on a slab of limestone. It is a recent work by artist Harold Wortsman. Note the blending of volumetric and organic form in this work, the mark-making and perforations on the surface, the striking colors of black and copper in variable stripes – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe—like naked skin. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides painted on. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

Altar, a ceramic sculpture of high-fired clay pigmented with oxides, is a work by New York artist Harold Wortsman. Altar was recently exhibited at "Harold Wortsman: Time and Space" at the Orange Art Foundation, February-March 2022, New York City. Note the blending of geometric and organic forms in this work – it is characteristic of his practice – warm, contemporary, uniquely crafted, yet speaks to ancient, primitive traditions of art-making that cross cultures and histories. Highly attuned to the art of Africa, the Middle East, India and Asia, his forms are organic abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. From Harold Wortsman – "With sculpture, my material of choice is high-fired clay. Pieces are first low-fired in an electric kiln. I do not use glazes. Instead, I use oxides applied to the bisqued (low-fired) clay. As with a tattoo, oxides permit the surface underneath to breathe. The work is then high-fired in a gas kiln with double reduction to cone 10. The final temperature is 2,300 degrees F. At a certain point, oxygen intake is reduced to the kiln. Because the fire has reached a critical mass, it needs oxygen and chemically takes it from the clay and the oxides. Like a jazz improvisation, each kiln load comes out slightly different." From Jonathan Goodman, Poet & Art Critic – "Wortsman re-examines ancient and modern traditions in light of what it means to make art." – Tussle Magazine, July 2019. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

Flow is the ability of liquids to continually move from one place to another. Also, It means accepting each situation as it is. The movement of the liquid comes from life, it is natu...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spen...

Camael Oil, graphite, sand, dry pigment on paper, laid canvas 47" x 35" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of p...

Untitled (Blue) Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 30" I am a visual artist whose work investigates small and large -scale abstraction primarily in t...

HER DREAM, a ceramic sculpture of high-fired clay pigmented with oxides, is a work by artist Harold Wortsman. Note the blending of geometric and organic forms in this work – it is ch...

Joanne Ungar's unique process involves layering pigmented wax over cardboard forms to create a geometric composition of color. Ungar's process begins by the artist flattening three-...

Bright blue sculptural painting by contemporary artist Paul Reeves. The work features a found violin painted blue floating against a background of the same vibrant blue color. Curren...

Flow is the ability of liquids to continually move from one place to another. Also, It means accepting each situation as it is. The movement of the liquid comes from life, it is natu...

The Liquied series is inspired by transformation, the speed with which things change, and the material's ability to adapt to its environment. As Zygmunt Bauman describes, liquid life doesn't maintain its shape; it changes; it has no contained form, but rather everything seems to blend together. In her work, Rosario Briones...

​Impressions of past lives, perceptions of future lives. The Records series carries that mystery. Simple and profound since its deed does not happen on the surface. Although it manif...

"Blue #16" is an artwork created by Gianluca Patti in 2019. This piece is the part of the Floating Series, which Patti created in 2019. Made using natur...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) is a 10 x 10-inch abstract painting on paper mounted on a board. Unframed. The artist works with...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) #3" is a 10 x 10 inch abstract painting on paper mounted on a board. Unframed. The artist works with natural earths, charcoal, st...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) #4" is a 10 x 10 inch abstract painting on paper mounted on a board. Unframed. The artist works wit...

Orazio De Gennaro's "Terra Bruciata (Scorched Earth) #57" is an 11 x 13 inch abstract painting on paper mounted on a board. The artist works with natural earth, charcoal, straw, pigm...

Paper size is 12 x 9 inches. Mixed media on handmade paper. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in t...

Mirror to the Sun IV Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily...

Paper size is 12 x 9 inches. Mixed media on handmade paper.

Adaizan Oil, Marble Powder, Asphalt, Burlap On Canvas 73.3 x 70" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting ...

Auger Falls Landscape (Gear Bottom) Green granite and sealed steel 15" (height) x 18" (width) x 5" (depth) Stone and metal, usually granite or slate, and found object steel are cent...

Mirror to the Sun V Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium...

Untitled (Burnt Orange) Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primar...

Did You See the Moon Tonight? Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in ...

Mirror to the Sun Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium o...

Mat Tomezsko's "NOW" series of mixed media street art paintings are built through an elaborate process of layering, patterning, adding, and subtracting an excessive amount of acrylic...

The artist finds inspiration in the exploration of various discarded materials, transforming them into three-dimensional sculptures full of transparency and life. She uses small piec...

Crescendo is from Francesco's signature Dyssomnia Series: "Deep in the night where the painter is not sleeping, being a musician, instead of writing songs, he starts to capture the m...

"X-Ormation Series I" is an encaustic-on-panel piece by Charles Ivey from his "X-Ormation" series. Ivey uses the encaustic process of combining hot beeswa...

Pebbles, sand and pigment on panel, frame not necessary as it has worked edges. Artist Statement My artistic practice has been profoundly influenced by exposure to two vastly differ...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

Georges Noel Villa Adrienne #17, 1976 Graphite, pigment, sand, and vinyl binder on canvas Signed to verso 76 3/4 x 51 inches The Pace Gallery label to verso With restless strokes ...

Maggie LaPorte Banks Taffeta and Amythest [2020] Original Abstract Acrylic and pigment on canvas art board Image size: H:40 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:3...

Taysha Oil, Marble Powder, Asphalt, Burlap On Canvas 73.25 x 70" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting ...

Robin Winters (b. 1950) hand signed; 1986. Acrylic, rhoplex and powdered pigment on screenprint Dimensions: 36”h, 32”w Title: "Home" Provenance: Brooke Alexander Gallery, New York, New York. Gallery label verso. Robin Winters is known for his conceptual works in a wide variety of two- and three-dimensional media and performance/durational art. The reliquary and other recurring themes that appear in his works can be seen in the collection of sculptures and paintings offered in this sale (lots 170, 171, 173, 393, 396). Gallery label to reverse: Brooke Alexander Gallery, New York, New York. Provenance: Brooke Alexander Gallery, New York, New York. Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. These meetings led to the formation of the Group Collaborative Projects, or Colab, of which Winters is a founding member. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover traveled to Liege from the US, and the three in combination with two of the factories master glassblowers, realized Mr. Winters' work over six weeks time. A portion of the works, a group of glass heads and hats that the artist had produced at the factory, were exhibited in 1990 at the Centre d’Art Contemporain Geneve in Geneva, Switzerland. Later in the year they were included in his solo exhibition at Brooke Alexander Gallery in New York City. They were also shown at Facts and Rumours, an exhibition at the Witte de With Center for Contemporary Art in Rotterdam, the Netherlands in 1991. Winters had a solo exhibition at Van Esch Galerie in Eindhoven, the Netherlands called I am not Indifferent in 1991. The show consisted of paintings, glass heads, and bronze sculpture. Two years later he had another solo exhibition at the Renaissance Society at the University of Chicago, entitled Human Nature. Several hundred heads, made of glass and ceramic, lined the walls and were arranged in rings on the floor. Also on display were various paintings and bronzes. In 1994 Winters had a show at the Michael Klein Gallery in New York City entitled Notes from the Finishing Room, a solo exhibition of paintings. The artist also collaborated with fellow Benicia natives and glass artists Leroy Champagne and Michael Nourot...

California visual artist Kim Frohsin is unsurpassed in her depictions of figures, mostly female, usually in paintings that are intimate in size and scale. All of her work, whether re...

This grand scale masterpiece fills a space with marvelous color and energy. This is a three piece triptych that can be displayed with no space in between measures 180 inches in lengt...

Ken Aptekar American (b. 1950) Go Know (Study) 1996 Graphite, white pigment, transparency film, and staples on paper Hand signed lower right sheet: 18 x 18 inches frame dimensions: 21 x 21 x 1 3/4 inches, wood frame with acrylic glazing Ken Aptekar is an artist who combines painting with text. He paints new versions of historical paintings and frames, bolting glass with sandblasted words to his painted panels. Aptekar’s work belongs to the tradition of painting, yet he brings to that tradition a recognition that paintings produce meaning only through their interaction with viewers. He investigates the nature of spectatorship. By “recreating” works of art in a painterly but utilitarian manner, Aptekar promotes viewers’ own narratives prompted by the image-text combinations. Born in Detroit, Aptekar received his BFA at the University of Michigan, then moved to Brooklyn to complete an MFA at Pratt Institute. Most recently, his work was featured at the Jewish Museum in Vienna, Austria, and in the Biennale Internationale d’Autun, in Autun, France. A major commissioned solo exhibition, NACHBARN (“NEIGHBORS”), 2016, was on view at the St. Annen Museum in Lübeck, Germany, including paintings with text, silverpoint drawings, and video all based upon medieval altarpieces in the St. Annen Museum’s collection. Previously, his work has been seen in solo exhibitions at the Victoria & Albert Museum in collaboration with the Serpentine Gallery (London), the Corcoran Gallery of Art (Washington, DC), Memorial Art Gallery (Rochester, NY), Centro da Cultura Judaica (Sao Paolo, Brazil), Musée Robert Dubois-Corneau (Brunoy, France), the New Museum (New York, NY), Douglas Cooley Gallery at Reed College (Portland, OR), Palmer Museum of Art at Penn State (State College, PA), Cummer Museum (Jacksonville, FL), and the Elaine Jacob Gallery at Wayne State University (Detroit, MI). In 2012 Aptekar’s work was the subject of a survey exhibition, ​“Ken Aptekar: Look Again,” at the Beard and Weil Galleries, Wheaton College, Massachusetts. He was in the show Words & Music with John Giorno, Cheonae Kim...